Christine de Pizan (Cent Ballades) ca. 1410

Scriptorium infoTitle: Christine de Pizan in her studio, where she is writing in a bookTechnique: Hand-painted gouache, watercolor on special processed art paper.Reconstruction carried out: 2007

Original info:Title: Christine de Pizan (Cent Ballades)Year: ca. 1410Origin: Frankrig, Paris. (British Library, Ms Harley 4431, f ° 4.) Referred to the Master of the Cité des Dames and a workshop for the Master of the Duke of Bedford.

Scriptorium infoTitle: Christine de Pizan in her studio, where she is writing in a bookTechnique: Hand-painted gouache, watercolor on special processed art paper.Reconstruction carried out: 2008

Original info:Title: Christine de Pizan (Cent Ballades)Year: ca. 1410Origin: Frankrig, Paris. (British Library, Ms Harley 4431, f ° 4.) Referred to the Master of the Cité des Dames and a workshop for the Master of the Duke of Bedford.

Scriptorium infoTitle: Christine de Pizan in her studio, where she is writing in a bookTechnique: Hand-painted gouache, watercolor on special processed art paper.Reconstruction carried out: 2008

Original info:Title: Christine de Pizan (Cent Ballades)Year: ca. 1410Origin: Frankrig, Paris. (British Library, Ms Harley 4431, f ° 4.) Referred to the Master of the Cité des Dames and a workshop for the Master of the Duke of Bedford.

The original manuscript the artworks above are inspired and reconstructed after.

Scriptorium infoTitle: Christine de Pizan in her studio, where she is writing in a bookTechnique: Hand-painted gouache, watercolor on special processed art paper.Reconstruction carried out: 2008

Original info:Title: Christine de Pizan (Cent Ballades)Year: ca. 1410Origin: Frankrig, Paris. (British Library, Ms Harley 4431, f ° 4.) Referred to the Master of the Cité des Dames and a workshop for the Master of the Duke of Bedford.

According to Christine herself, the artist could possibly have been a French female illuminator by the name of Anastacia who flowered in Paris around 1400.

“I know a woman named Anastacia, who is so wise and so schooled in painting manuscript borders and miniature backgrounds, that it is not possible to find an artist in Paris, who is capable of surpassing her, or is able to paint flowers and details in such a cautious manner as she, or whose work is more appreciated, no matter the richness of the book. People cannot stop talking about her. And I know this from experience because she has made plenty of artworks for me, which all differentiates from the ornamental boundaries of the other great masters.” (Le Livre de la Cite des Dames 85)